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Part 2, in ENGLISH - The interview at "Vocea umana" on Radio Romania Cultural

Second and last part of interview Angela Gheorghiu gave to Mihaela Soare for "Vocea umana", broadcast on Ester, on April 16 and 17 on Radio Romania Cultural. The main topic was "Homage to Maria Callas" but there are many other musical topics brought up. You can read/listen to the first part here


An interview with Angela Gheorghiu is not an easy thing to do. She challenges you. She makes you reconsider certain preconceived ideas about artists and about herself in particular. Her honesty might be blunt. Her ideas are decisive and she utters them accordingly. And I thought it’s absolutely worth having a face-to-face conversation because Angela is herself a show.  From a raised hand to underline an idea she cares about to the warm smile when speaking of a favorite topic. It was meant to be a dialogue at midnight in an elegant setting, in Bucharest. 

I listened to “Homage to Maria Callas” several times attentively.  There are arias that you’ve already sung even if you haven’t performed the role on stage. I retrieved familiar things, the beauty of the voice, fierceness, sensibility, sensuality that we all recognize in your voice, your amazing pianissimi, the warmth of emotions when singing. But I found something more. A deeper musical content than before, as if each sound is even more polished in search of its hidden meanings.  Does an artist ever stop exploring a character?

What you said sounds good. These are the results of a situation, a quest, a state of mind. I recorded the CD in two locations, half at Abbey Road in London and the other half in New York. It all started with EMI’s suggestion of making a duet with Maria Callas. It was technically possible. I’ve said that before. It was very important that we were colleagues at EMI and the result was very good, technically speaking. I really wanted to bring homage. I didn’t do it to get such beautiful compliments. I think all the artists do the same. I wanted to include a variety of roles, arias that we haven’t necessarily performed on stage. While she was alive she never agreed to release “Samson et Delilah” on CD. She didn’t consider it good enough. Later on, her sister released on CD all these arias. I chose an eclectic repertoire and each aria has a story. I tried to get as close as possible to something she did. I didn’t want to make a difference between us speaking of repertoire, performances and characters. It’s important that you can listen to me and listen to her. I was fully aware of what I’m doing. I knew she was a great person. I discovered her by listening to recordings at the library of the Conservatory, without seeing any photo of hers. I listened to my first CD later on, and it was La Traviata with Virginia Zeani. Maria Callas owes a lot to Virginia Zeani’s husband. When I saw Mrs Zeani’s photo I said to myself “oh, God, this human being is also singing!!”. I don’t give advice. I speak from experience. I don’t repeat what I heard from somebody. 

I started listening to recordings at the State Library and the first one was Virginia Zeani’s. I didn’t miss any of Eugenia Moldoveanu’s performances at the Romanian Opera. I wanted to listen to everything whether I liked it or not. I didn’t like to be ignorant. I mean it. It was not only opera. I plunged in the divine classical music. My first live TV broadcast was at 18. Iosif Sava wanted to listen to me, as he knew I was a first year student at the Conservatory. So he did this broadcast with all the students in Arta Florescu’s class because he wanted to listen to me as soon as possible. Iosif Sava did great things for music. He was our angel. He knew how to recognize a talent and he dedicated himself to it. He did all he could for me. Many times I was guest at his broadcasts and the only singer among actors. The second edition of “Do you like opera?” took place when I was in the first year at the Conservatory. I was invited and I asked who else was singing. The first names uttered were “Nicolae Herlea and Eugenia Moldoveanu”. What was I supposed to sing? Addio del passato. Since I was 18 I have never talked to anyone about canto. I understood everything at 18

You’re a phenomenon and this is not a compliment or a joke.
It’s reality. I chose to be my own teacher.

Since 18 I haven’t asked a sole question to anyone. I don’t ask questions. 
It’s like you’re telling me a story. I know lots of young people that are overwhelmed with information and they’re still not singing well. You have always said that your technique was polished up at 18. And your voice sounds exactly like twenty years ago, as beautiful, as sensual as back then. Of course several details improved as time went by. 
I’ve always been the slave of my own self, voice and destiny. I was aware from the beginning of what I was meant to do. It’s a fact but it’s not that awesome. I have a body as anybody else and I have needs and desires. The only difference is that I’ve had a mission since I was a young girl.  I decided to fully dedicate myself and to give everything

Generally speaking, this means musical intelligence, trust in your own instinct, a very strong will and faith in your own gift. 
You have this genuine wish to share your real value without being modest.
Sometimes it’s not so good to be so aware because it comes with responsibility and huge emotions. I always want to give emotions, to build up something in order to make people dream with me. This is so difficult and it never ends. My awareness of what I’m doing gives me unbearable emotions. Don’t ask me how I face this feeling. It’s hard. I won’t say I don’t like it, on the contrary. But the body doesn’t always help. And here it comes my less enjoyable side, cancellations.  I realize that I’m not feeling fine on a certain day. I must accept that I don’t have to make people suffer. I’m sad that I have to stay at home. This is a price I have to pay.  I don’t want to become melodramatic. When I started twenty years ago, I started from the best places possible.

Covent Garden, the Met… there’s nothing better than these. 
This is what I wanted. Mia Barbu told me this was what I had to do and I followed her advice. And she was so right. At the same time I became the black sheep, the difficult person. But all my colleagues, conductors, directors and opera singers that shared my emotions understand me perfectly. You said I enjoy fighting for opera. It’s true, because I’m the first one to get the phenomenon. No matter the race or religion we all want the same thing, a good performance. Is it true?
It is absolutely true.

Tell me in a sentence what Angela Gheorghiu dreams of for the future, for your home and family. You have everything and people who don’t know you might say you have stepped on a red carpet from the beginning. 
I try to be a normal person, to be with my family, with my girls, Ioana and Ornella, with Roberto. We had our ups and downs. I’ve said before I’m not too original in this aspect. You have no idea how it’s like to be away from home for you entire life. When I come home I only stay for a few days. My life is dedicated to what I was meant to do

We stop here, but there’s place for more. Please promise that when you come back we’ll talk more because I have many other interesting questions to ask. People who listen to this broadcast and who call me after your broadcast performances to tell me how much they appreciate us having such a high classed Romanian voice, would like to hears us talking more. 
It will be my pleasure if an opportunity shows up. Today I realized how enjoyable is to speak Romanian the entire day. It’s the second time in my life when this happens. It’s easier for me to speak in my native language. Usually I have to speak in many other languages but my own. I want people to discover the real Angela, the happy, nervous, serious, friendly, down to earth one for those who deserve it. I’ve always done everything with the greatest respect and love towards people who love what I love

Thank you very much!
This is the end of this dialogue with Angela Gheorghiu. Everything she told us about herself, her colleagues and about art might make us listen to opera not differently but with more appreciation. It’s good when artists talk to us, as if guiding us, showing us the right path to follow. Today, the Human Voice is Angela Gheorghiu’s voice.


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Last night @ROHM. Who+what

Angela Gheorghiu, Tiberiu Soare, Stefan Pop at Royal Opera House Muscat
Aka the Royal Opera House Muscat in Oman, where the concert took place. Lucky Omani!
Lots of photos posted on Angela's official FB fan page.

And this was the program

Part 1
Orchestra - George Enescu -  The Romanian Rhapsody I
T. Brediceanu - Doina Stancutei/Cate flori pe deal in sus - Angela Gheorghiu
Gh. Dendrino - Te iubesc - Angela Gheorghiu, Stefan Pop
T. Brediceanu - Dragu-mi-i, mandro, de tine - Stefan Pop
G. Grigoriu - Muzica - Angela Gheorghiu, Stefan Pop

Part 2
G. Puccini - O mio babbino caro (Gianni Schicchi) - Angela Gheorghiu
G. Verdi - La Donna è mobile (Rigoletto) - Stefan Pop
R. Leoncavallo - Stridono lassù (I Pagliacci) - Angela Gheorghiu
G. Puccini - O soave fanciulla (La Boheme) - Angela Gheorghiu, Stefan Pop
Non ti scordar di me - Angela Gheorghiu, Stefan Pop
Loewe - I could have danced all night (My Fair Lady) - Angela Ghoorghiu
O sole mio - Stefan Pop
Granada - Angela Gheorghiu

G. Verdi - Brindisi (La Traviata) - Angela Gheorghiu, Stefan Pop


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Part 1, in ENGLISH - The interview at "Vocea umana" on Radio Romania Cultural

The interview Angela Gheorghiu gave to Mihaela Soare for "Vocea umana" was broadcast on Ester, on April 16 and 17 on Radio Romania Cultural. The main topic was "Homage to Maria Callas" but there are many other musical topics brought up.

For all those writing to me asking "what is she saying?", here you go. This is the first part. The rest of it is coming soon.

The audio below is in Romanian, featuring arias from "Homage to Maria Callas" and not only.  


The Easter Holidays are emotionally profound. They’re a period of reflections, of joy. “The Human Voice” fits in the context perfectly. Singing means praise to the gift received, to the people. On this occasion I brought you not only the voice I know that you love very much but also the artist’s thoughts during a conversation we had in Bucharest, in winter.  I waited longer to broadcast this dialog because I needed a special moment. So here we are, during the Holidays.

We talked about the CD dedicated to Maria Callas, the main reason of our meeting. But the words, the ideas rolled towards other topics. This resulted in a singer talking about singing, an artist talking about art, sacrifices and happiness, a diva talking about what’s hiding behind this supreme image. It was an evening full of emotion and curiosity on my side, full of patience, openness and the wish to be clearly understood by the audience on her side. In front of me there was a woman even more beautiful that I had known her, fresh, joyful after many hours of interviews. And we talked. For you, on these holy days, Angela Gheorghiu.

“Opera is a battlefield and the weapons are the technique and the voice” said Maria Callas almost 50 years ago. After tens of years another prima donna of international opera, Angela Gheorghiu, says, “I want to fight for opera, to be taken seriously. Pop is for the body, opera is for the soul”. Half century later, do you think that Opera still need knight-like, female defenders?

I don’t feel like a knight. The word “fight” is a little too much. Better said, I try to persuade, I try to make people discover, to discover me, to make them curious, to make them understand classical music, generally speaking, and opera music particularly. We speak about a very complex form of art. Many people have no idea what it is about, meaning that they don’t know where it comes from. Lots of ads use opera music. Certain pieces seem so familiar that sometimes people are misinformed. If they are not lucky enough to step into this world they are mazed. I do my best to make all those who meet me think that I'm a normal human being, that she portrays a character on stage that could be your own reflection, as in a movie. Many times I contradict myself but I have to. When it’s native, the human voice must be prized.

Nowadays we listen to opera with our eyes. We’re not having this conversation now because I look good or I wear a beautiful dress.  The reason is my gift or as I call it, my mission. Since the beginning I understood what I had to do.  I want to make people understand certain phenomena but at the same time I must admit there has been a progress in the world of opera. It’s not always legitimate, but you can’t deny it. During auditions, directors and opera managers pay more and more attention to those who have a pleasant appearance, leaving the voice in the background.  

We’ll make a loop in our conversation because you brought up a topic that I want to talk about later. It is said that in the present opera needs good-looking, intelligent artists, on top to the divine gift. They need to be good actors, to have appropriate gestures and many other qualities that, in theory, were not required to such extent some years ago. 

You know the reason. From this point of view they’re not right. But don’t forget that in the past 20 years, everything I did onstage was filmed. So I’m an example of the previous statement. And because of filming the situation changed. If you’re an opera manager, you have to think twice. And many times the one that has a sensational body wins. For a certain repertoire the physical appearance is not very important. But for leading roles portraying young characters that have to make the story believable, I tend to understand this phenomenon. Also in my generation there was a Wagnerian soprano criticizes for her robust appearance. It was so stupid. Sometimes I’m furious about this. When I can change things, I do it. This is a trend and it’s very difficult to fight. 

Of what I have heard live so far, there are interesting artists, beautiful women, handsome men but not at the high vocal standard required by important theaters. Going fifty years back again, Maria Callas said that you need experience in order to sing at La Scala. 
This statement makes me laugh and I don’t agree. It’s not fashionable anymore.

It’s not fashionable but you could notice the reactions in some performances…
I don’t agree. Talented artists already sing in big theaters. La Scala is a phenomenon. They have a serious problem and something goes wrong there. I didn’t care if I sang at La Scala or not. I still don’t care. For sure this theatre is not what it used to be. It’s not about the building because it’s a beautiful opera house. It’s about where it is.  I agree with what Roberto did. More than that, I believe that this reaction of the public towards someone who made an undesired mistake is similar to physical or verbal aggression at someone in the street.  After such a reaction the police should come. And one more thing, which artist in this world would go on stage to make mistakes on purpose? It’s not civilized. In figure skating the audience supports the skaters who make mistakes. You’re entitled not to like the performance. Nobody made you come. The audience knows the cast. If you came to listen to me, you must support me and love me even more. If you don’t like something and I make a mistake you have two options: either leave the venue or don’t applaud.  

The virulence of the Italian audience is well known, without any particular reason.
In a civilized world these reactions should disappear. It’s tragi-comic and not normal. It should be dealt with quickly. 

We should be aware that each artist lives in his/her own time.  I didn’t have that mentality, on the contrary. I always wanted to sing in big theaters, to have only important roles; I didn’t take into consideration old-fashioned ideas that said you should start from small theaters, to be an apprentice first. Today all young and talented people have opportunities if they want. There are so many good singers that win competitions.  They speak all the important foreign languages, they studied music, and they already know the roles.  The progress is obvious. Further on, those who make a career need many other things such an agency. Problems might appear, but it’s normal.

I don’t want to plead for something I didn’t like because I’m here with an artist that I like so much that it would be strange to insist on the topic. You mentioned the young singers and this connects perfectly to my first question. I said on purpose that you fight for music as each great artist does. I see how thrilled you are when speaking of artists, of colleagues. I find it elegant and important. You’re an artist who defends her guild. 

On the other hand, this leads to another question related to your passion when speaking about talented young singers. If you were in front of a hall full of Romanian young people, young ladies that dream of being like Angela Gheorghiu one day, young men that dream of reaching the top of the pyramid, what would you tell them?
I’ve never done a master class, not yet. I refused the invitations. Next year will be my first master class in the memory of my beloved friend Georg Solti, in Italy, with the BBC.  I have a long list of things to say. I don’t want to abridge a destiny in an interview. 

I understand perfectly.
These young people should have the luck to find the proper teacher. There is no ideal teacher. I don’t believe in this idea. I believe in the ideal meeting.  


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Angela Gheorghiu at Tuscan Sun Festival, June 12

Previously held in Cortona, this year's edition will take place in Florence, Italy. As mention on Tuscan Sun Festival website, Angela Gheorghiu's concert is scheduled for June 12 at Teatro Nuovo in Florence and on this occasion she will receive the designation as a UNESCO "Artist for Peace". Great!


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Something I like

Recently I attended the live broadcast of Rigoletto from Royal Opera House. Great Dimitri Platanias! Voice, appearance, acting... everything. 

Getting back home I listened again to my all time favorite in this role, Leo Nucci and his Si, vendetta in the end of act 3. Act 3 is again my favorite. To my surprise (in a good way) there is a full length Rigoletto on YouTube with some of the best (if not THE best) casts possible these days. Those steady voices that make you feel butterflies in your stomach, the perfect balance between singing and acting.

Opernhaus Zurich, 2006

Leo Nucci as Rigoletto
Elena Mosuc as Gilda
Piotr Beczala as Il Duca di Mantova

Nello Santi conducting

There are tens of full length operas on YouTube. Old recordings but also new ones (La Traviata and Manon from the Met) captured from cinema. This might not be fair to the singers and opera houses, financially speaking, but it's heaven for those who can be there but really love opera.

Have a great musical weekend!


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Habanera and La Wally on collectible vinyl by EMI

According to Gramophone website, to celebrate Record Store Day UK on Saturday, April 21, a number of special vinyl classical issues are being released. EMI is releasing a seven-inch single that includes a unique duet version of the Habañera from Bizet's Carmen which unites Maria Callas and Angela Gheorghiu in a specially engineered recording complete with a new orchestral accompaniment. Also on the disc are favourite arias from Catalani's La Wally (Gheorghiu) and Puccini's Gianni Schicchi and Tosca (both Callas). The single is limited to 1000 copies and is adorned with the old HMV 'celebrity' red label

Do you still own the device (turntable, if I'm not wrong) that plays vinyls? I do!


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"Angela Gheorghiu, 20 years of international career" on TVR Cultural, April 18

TVR Cultural, April 18, 10:15pm (GMT+2). The ad says "a sentimental journey that follows the childhood, youth and great successes the famous soprano has had with her concerts and performances on renowned stages, from Bucharest to Covent Garden in London, Metropolitan in New York, Scala in Milan and so on. Exclusive footage from the archives of TVR" 
It's in Romanian. 100 minutes. I'm very interested in the "exclusive footage" part.
There's not an official online streaming of TVR Cultural, but you might be able to watch it on DolceTV.


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New interview on Radio Romania Cultural, April 16/17

Taken some time ago, the interview will be broadcast at Vocea Umana in two parts, on April 16 and April 17 starting 4:30 pm on Radio Romania Cultural. The station is also available online.


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More videos from Teatro Colon

The uploader got to part 2 :)

Enjoy! And Happy Easter!

Tosca - Mario , Mario , Mario ...Son qui!

Ebben, ne andro lontana

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VIDEOS from Teatro Colon

Adriana Lecouvreur - Ecco respiro son l´umille ancella

Adriana Lecouvreur - Adriana , dolcissima effigie


Adriana Lecouvreur - L'anima ho stanca
The encore

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More photos from the concert at Teatro Colon

All photos below @Amalia Eugenia Repetto

The reviews published so far in the press section.

And a short video from the end of the concert


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Last night in Buenos Aires, photos and impressions

Photo @
More photos from the concert at Teatro Colon Buenos Aires on the official website and on the Facebook fan page

PS: the appearance database is now up to date. If there's something missing there, please let me know.


And here's what Marcelo wrote to me after attending the concert. Thank you so much!

What can a I say? It was an unbelievable night for me and for all the Argentine fans that filled the Teatro Colón (2500 capacity - only some boxes and orchestra seats were unsold and reserved for invitations). We hadn't experienced such a "red hot" night in many years. I was sitting in the Cazuela section which is like a third row of balconies, right in the middle of Teatro Colón's huge space. That's a bit far away but the acoustics is the best in the theater. 

Both Angela and Roberto sang beautifully throughout the night. My preferred pieces were "Io son l'umile ancela" and Adriana's last act duet including the end of the opera. That alone lasted over 15 minutes. Regrettably, we had no "Poveri fiori", but the intensity these two singers brought to that scene was mesmerising. They not only sang like gods but they acted as well. In the end, after Angela pronounces "Melpomene son io" and Adriana dies, she stood still with her eyes closed, while Roberto approached her and embraced her, screaming "Adriana, Adriana". It was a magical moment that I shall never forget.

The Tosca scenes wwere also wonderful, finding Angela still in better vocal command. Roberto brought the house down with "E lucevan le stell" and so did Angela with "Ebben ne andrò lontana", despite the fact that the poorly conducted orchestra rushed the tempi too much in my opinion. Both Tosca duets were magnificent. Here again the acted the scenes as if it were a staged production. This is only to confirm that when you have two great singer/actors on stage you don't need any régisseur to mark what they should do.

The public were in delirium with these two great artists. The concert lasted almost two hours.

My only qualms about this concert had to do with the indisciplined orchestra and inexperienced conducting of maestro Ramón Tebar. There were just too many false notes produced by the chords and brasses and the maestro kept the orchestra too loud at times, particularly during the first Adriana duet. The other frustration was that there were no encores. After the scheduled program was finished Roberto spoke up to explain that the Teatro Colón authorities had not approved the encores they had proposed, which would have consisted of crossover music or zarzuelas or tangos. So the only encore we had was Roberto singing "a cappella" a bolero from his Pasión album and Angela joining in at the end. I later learned from some members of the orchestra that it all had to do with score copyrights that Teatro Colón was not willing to pay, and after this decision was taken the singers and the orchestra did not have the time to rehearse alternative pieces.

But in the end the public were very happy and a huge crowd gathered at the stage door where Angela and Roberto patiently signed autographs and stood for pictures before leaving to complete their evening with a dinner and tango show at the famous "El Viejo Alacén".


Two more reviews on blogs (and other photos): Una Voce Poco Fa and Opera Desde Hoy


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Program for the concert in Buenos Aires, April 11

Cilea, Puccini, Mascagni & Catalani, as mentioned on this website.


Angela Gheorghiu, soprano
Roberto Alagna, tenor
Orquesta Estable del Teatro Colón
Director: Ramón Tebar

Francesco Cilèa (1866-1950)
Preludio de “La arlesiana”
La dolcissima effigie
(De “Adriana Lecouvreur”)
Angela Gheorghiu
Roberto Alagna

“Ecco, respiro appena… Io son l’umile ancella”
(De “Adriana Lecouvreur”)
Angela Gheorghiu

L'anima ho stanca
(De “Adriana Lecouvreur”)
Roberto Alagna

Senza lentezza (Acto II)
Andante sostenuto (Acto III)
Andante triste (Acto IV)
(Música orquestal de “Adriana Lecouvreur”)

“Poveri fiori…Ove, dunque, son io?”
(De “Adriana Lecouvreur”)
Angela Gheorghiu
Roberto Alagna


Giacomo Puccini (1858-1924)
Intermezzo de “Manon Lescaut”
Preludio al Acto III de “Edgar”

“Mario! Mario! Mario…Son qui!”
(Dúo del Acto I de “Tosca”)
Angela Gheorghiu
Roberto Alagna

“E lucevan le stelle”
(De “Tosca”)
Roberto Alagna
Pietro Mascagni (1863-1945)
Intermezzo de “L'amico Fritz”

Alfredo Catalani (1854-1893)
“Ebben! Ne andrò lontana”
(De “La Wally”)
Angela Gheorghiu
Giacomo Puccini

“Ah! Franchigia a Floria Tosca…O dolci mani”
(De “Tosca”)
Angela Gheorghiu
Roberto Alagna

No "Vissi d'arte".. :(


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La Boheme in Hamburg, PHOTOS

 Curtain call, La Boheme, Staatsoper Hamburg, March 30

Angela Gheorghiu

Angela Gheorghiu (Mimi), Giuseppe Filianoti (Rodolfo), Katerina Tretyakova (Musetta),
 George Petean (Marcello), Adrian Sâmpetrean (Colline) and Moritz Gogg (Schaunard)

Angela Gheorghiu and George Petean
Angela Gheorghiu and Simone Young, the conductor

Katerina Tretyakova
George Petean
Angela Gheorghiu, Simone Young, Giuseppe Filianoti


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Last night's La Boheme in Hamburg

This Boheme (Angela Gheorghiu / Giuseppe Filianoti / Katerina Tretyakova / George Petean / Adrian Sampetrean / Moritz Gogg) was totally different from what I have seen before. It was a modern, German production visually appealing and mind cathcing. Just because a director thought of bringing the story to present days, la bianca cameretta is a studio in a block of flats where each opening door reveals the staircase. In the first act you could see nine studios displayed in a square. The one in the center belongs to the boys, the one above to Mimi and the in cent right to the landlord. A landlord who peeks into the boys studio through a small hole in thr wall. The other studios are inhabited by various people, one old lady preparing a Christmas basket, one man drinking a beer. It's the first time when I see Christmas trees included in the production. There were several in the small studios. The one in the boy's studio is in fact a drawing on the wall. Funny :)

A very good thing was that the action in the first act takes place at the first floor, so everybody in the venue can see everything perfectly. The same happens in the last act. Getting back to act one, when Mimi and Rodolfo sing their duet, at some point the part of thr stage with the studios goes down till Mimi's room reaches the eye level(remember that it was at the second floor). The little white room is coquettish, with lots of teddy bears spread around. When the aria finishes, they leave the stage while the building behind them totally disappears under the stage. To make place to Momus. I think it's the first time when the directir thinks if showing us what happens around the protagonists. And it wasn't bad at all.

Momus is a bar with waiters dressed in pink. Musetta sings her valse on the bar while undressing. Interesting approach...
In the beginning of act 3 the men are janitors and the ladys are...half-clothed. The heart and arrow neon sign on the wall of the building the ladies come out frim gives a vague idea of what happens inside.

The fourth act brings us back to the building in the first act, only that this time it's deserted. There's nobody living there anymore. There just a mattress left in the studio in the center. The only thing that didn't match the rest of the sets/props was the muff Musetta brings. It's not a 20th century item. Probably you could still find one, but not if you're as poor as they were. But this is just a small detail.

Simone Young led the orchestra very well. From where i set i turnd my had many times to watch her on one of the monitors in the venue. Sorry to the gentleman that thought i was looking at him. Only that his head was in between my eyes and the monitor :) Mrs Young was totally dedicated to what she was doing and her gestures, her face, her singing with those on stage showed that.

My second Boheme this year ended with standing ovations. And some boos (agsin) for the conductor. Not deserved. The producton was way more interesting than the one in Barcelona, but this time the tenor's voice didn't make me feel confortable several times. Lots of struggling for high notes which gave a feeling of insecurity, musically speaking. At this point i could say that i would prefer the steady tenor voice i heard in Barcelona (with less acting) than lots of acting but unsteady voice. My opinion. Of course, having both acting and voice would make Rodolfo great.
So I focused on Mimi's voice. And that made the evening perfect!

To completethe picture, check out a video recording posted on youtube today.
Some more pictures coming up tomorrow.


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